placed over, or by the side of, the principal figures. These bas-reliefs formed the upper part or panels of the sides of the tomb. No. 150, the cast of the panel of the door, represents a standing figure holding an œnochoe, and bearing the name of Salas. No. 151 represents four females conversing, one seated, one apparently kneeling, and two standing: above the seated figure is the name Mesos. To the right is another female, nursing a child; and still further to the right a scene in which a woman is standing with her child in her arms, and two men are conversing, one with an axe in his hand; to the extreme right is a third, holding a horse by a halter. No. 152 is a representation of an entertainment; on the first couch to the right recline Endys and Seskos; on the next, Molos or Molas, and Kparmos: two children are sitting near them, one of whom is named Hecatomnas; under these couches are dogs. On the next reclines a female, named Sipho, to whom a child named Porlaps stretches out its arms from the next couch, on which are Salas and the female named Mesos; beyond these is Eidas, the son of Salas, and two servants; on the extreme right is a naked figure, named Hecatomnas.

Sir Charles Fellows mentions seeing a splendid sarcophagus at Cadyanda, cut upon the rock towering on the precipice over his head, and gives (Lycia, p. 118) outlines of the bas-reliefs still remaining there. It does not appear that any casts of these were made during his subsequent expedition, perhaps because the sculptures themselves were inaccessible. No inscriptions appear upon them. No. 157 are casts from the side of one of the rock tombs at Tlos, representing two rows of bas-reliefs one above the other-a fighting scene; on the upper one, three victors appear standing over three fallen enemies; on the lower, are two single combats, in which the warriors are defended by shields, but do not seem to have any aggressive weapons, as swords or spears. Sir Charles Fellows considers, we think with reason, that the lower row is probably a representation of some of the public games. There is also a view of an attack upon some city, probably Tlos itself; the principal hero bearing the name of the Lycian hero Esrasa.

No. 158 is a cast from the interior of the portico of the rock tomb at Tlos, representing Bellerophon, one of the Lycian heroes, triumphing over the Chimæra. This tomb is one of great interest. It is of the Ionic order, and is sculptured high upon the surface of the rock. The bas-relief of Bellerophon is on the left side of the entrance. It is roughly hewn, but covered by a broad outline in black colour, which indicates the points and details with great

accuracy so that by a careful investigation it appears to be an early bas-relief, showing the method in which the sculptors proceeded. Upon the rough hewn work of the mason are traced the more precise lines of the master, only a few of which had in this instance been worked out by the sculptor. On comparing the plaster cast with the original, the defects are at once seen; the saddle-girth and bridle are not traceable, and the horse's limbs, the left hand of the rider, and the horse's crests, are unmeaning masses. On the smooth body of the horse remains the pale red colour of the saddle-cloth. Where the sculptor's lines are not sufficiently broad, the black colour remains on either side of the groove, whilst in other places the chisel has quite removed the mark of the brush. The head of the rider is the only part at all finished, and it possesses an appearance of great antiquity. The front knot of his hair, the full eye, and peculiarly turned moustache, are worthy of attention; and the tuft of the horse's mane shows the same connection between the art of Lycia and Persepolis which has been remarked in the chariot procession from the Acropolis at Xanthus.

No. 158.

لسة

Nos. 160, 161 are casts from the gable ends of tombs, one representing two nymphs dancing, and the other two lions devouring a bull.

No. 166 is perhaps the most remarkable of all the rock-tombs of Lycia of which the Museum possesses casts. The original is at Myra (now called by the Turks Dembre), the extensive remains of which show that it was a large and wealthy city in the ancient period of its history. The tombs found there are generally large, and apparently constructed for the use of families; some having small chambers, one leading from the other, and some very interesting from interior peculiarities of arrangement. The external ornaments are enriched by statues sculptured on the rocks adjoining them, and inscriptions in the ancient Lycian character and language are almost universally attached to them.

Within the porticos of several of these tombs are bas-reliefs in better preservation than those in other cities, some still retaining the original colours with which they were decorated. The one, of

which the Museum possesses the casts, is very perfect. On the outside of it, to the left, is a standing male figure, resting his left hand on a long staff, and his drapery falling over his right: on the extreme right is a young man leaning on a staff, attended by a boy, offering a fruit or flower to a veiled female, who carries a pyxis, and is attended by two other females. This group, together with the standing male figure first described, are on the naked rock outside the tomb, on its two sides respectively. Within the portico, is a recumbent male figure, probably Dionysos, or Pluto, holding in his right hand a rhyton, and in his left a cup; a naked boy who is sculptured on the mullion appears to be attendant on him, and to hold in his hand a wine-jug; facing him, on the interior wall of the tomb, is a veiled and seated female, before whom stands a naked man, holding a lekythos and strigil, and behind her a female attendant. The seated figure is probably Persephone (Proserpine) or Aphrodite. The ancient colours on this monument have been reproduced in fac-simile on the cast.

No. 168 is part of a Roman sarcophagus, found at Xanthus, in a mausoleum containing four other sarcophagi; on its cover have been a man and woman reclining, the man holding in his hand a scroll; one end only remains of the chest, containing representations of a combat of warriors, on horse and foot; at the back is a torch placed vertically, towards which, on either side, a gryphon is advancing. No. 169 is a portion of a sarcophagus with its roof cover, in the pediment of which there is a shield; on it are boys, or cupids, trundling hoops, and play

ing at ball, and a horseman. No. 170 is the base of another sarcophagus, with the lower part of the figures of a hunt. No. 171 is a fragment of another sarcophagus, with the lower portions of figures within a vestibule of twisted columns.

We take next

IV.-INSCRIPTIONS.

Premising that the majority of the Lycian inscriptions which have been discovered are attached to monuments, such as those we have already noticed, as, for instance, to the sarcophagi of Paiafa and Merewe, and to the tombs at Cadyanda and Myra, we shall only notice here those which are on separate stones and blocks.

The first and by far the most important of these is No. 141A, commonly called the INSCRIBED Monument at XANTHUS. This is a square stele, or pillar, covered on the four sides with a long inscription in the language of the ancient Lycians, and containing a mention of Harpagus, and of several Lycian towns and states.

On the N. side, between lines of Lycian characters, is a Greek inscription in twelve hexameter lines, which, commencing with the first line of one of the epigrams of the poet Simonides, who flourished B.C. 556, records the warlike exploits of the son of Harpagus, and that this column was erected in consequence, in the Agora at Xanthus. The whole inscription on the monument consists of above 250 lines. It was unfortunately discovered in an imperfect state; the earthquake which levelled the other monuments at Xanthus, having split off the upper part, which lies at its foot. Sir Charles Fellows, who has devoted much time to the obtaining from it perfect copies of the inscription, by copying and re-copying it during his different visits to the ruins, and by taking impressions of it in wet paper, states that at the top of the original monument are the marks of mortise joints, indicating that it has once had a cap or top to it, of which heavy pieces of stone, found lying near it, are probably portions. Sir Charles Fellows noticed also this curious fact, that the characters cut upon the upper portion are larger and wider apart than those on the lower, thus counteracting the effect of diminution by distance, as seen from the ground. Since the discovery of this monument, many attempts have been made to decipher the Lycian language, the most complete by Mr. Daniel Sharpe. Though, however, this gentleman has made a praiseworthy commencement, we think that still a great deal remains to be done towards obtaining anything like a satisfactory interpretation of this and other Lycian inscriptions We are indeed inclined to suspect that the use of Greek letters,

M

intermixed with other characters purely Lycian, has been one great barrier to the success of the students of those interesting inscriptions; and that in more than one instance the orthography of names had not been settled determinately at the period when these inscriptions were engraven.

No. 153 is a cast of an inscription, with the name of Hector, over a fighting warrior from Cadyanda. No. 154 is a cast of an inscription in Lycian characters, from a sarcophagus at Antiphellus.

No. 155 is a cast of a bilingual inscription, from Larisse, near Telmessus: it records that Apollonides, and Laparas, the son of Apollonides, have made the tomb for themselves and their family. No. 156 is a cast of a bilingual inscription, from a tomb at Antiphellus, in the Lycian and Greek languages, recording that Iktasla, a native of Antiphellus, had made the monument for himself and his family. No. 156* is a fragment of a Lycian inscription, from a tomb at Xanthus, apparently part of a sepulchral formula, threatening a fine upon any one who shall violate the monument. No. 159 is a bilingual inscription in honour of Pixodarus, King of Caria B.C. 340. It was found at Xanthus, near the sarcophagus of the Satrap Paiafa (No. 142).

No. 165 is an inscription containing a portion of a decree of the city of Xanthus, dated in the month Lous, in the ninth year of Ptolemy Philadelphus. No. 176 is an inscription recording that Aurelius Jason, son of Alaimis and Chrysion, daughter of Eleutheros, have purchased a tomb for themselves, in the 13th of the month Artemisios, during the priesthood of Callistratus. It was found at Uslann, near the mouth of the Xanthus, and was presented to the Museum by Lieut. Harvey, R. N.

V. MISCELLANEOUS FRAGMENTS OF SCULPTURE.

No. 140** is a fragment of sculpture from an angle of a building, containing a crouching warrior and bull, and found between the Harpy tomb and the Acropolis. No. 167 two sandaled feet, parts of statues from Xanthus. No. 172 two metopes, with the head of Artemis, full face, and triglyphs from the Roman arch at Xanthus, erected in the time of Vespasian.

No. 173 is a monument found in a Roman bath at Xanthus; on one side of which are Plutus and Tyche, standing full face; on the other is a Persian shooting arrows into a cave, in which are an ox, a stork, a boar, a lizard, a grasshopper, and a fox. No. 174 is the torso of a male warrior.